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What is the point of short-term memory in everyday life?
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However,even that function is rapidly becoming obsolete now most people have mobile phones の文章に関しては問題ありませんでした。
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- 英文の翻訳をお願いします。２
Evaluation The assumption within the model that there are separate short-term and long-term stores has been influential and is approximately correct. As we will see, it is a gross oversimplification to argue that there is a single short-term memory store(see section on working memory). It is a gross oversimplification to argue that there is a single long-term memory store(see section on types of long-term memory).It seems very doubtful that knowledge that Russel Crowe is a film star,that 2+2=4,that we had muesli for breakfast,and information about how to ride a bicycle are all stored in the same long-term memory store.
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- こちらの二つの文章は、正しい文章でしょうか？
お世話になります。 下記の文章(1)は正しいでしょうか？文章(2)の方がより正確な文章でしょうか？ お手数掛けますが、説明もいただけると有難いです。 (1)This textbook is convincing to improve my English skill. (2)This textbook is convincing that it can improve my English skill. 宜しくお願い致します。
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- 英文の翻訳お願いしますm(_ _)m
peterson and peterson(1959)studied the duration of short-term memory by using the task of remembering a three-letter stimulus while couting backwards by threes. the ability to remember the three letters in the correct order reduced to only about 50% after 6 seconds(see the figure on the left). what is the most convincing evidence that short-term and long-term memory are distinct? 翻訳お願いしますm(--)m
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Mr.Jobs' genius lay in his ability to see technology for what it is- a tool that has the capacity to transform how we live.
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Baddeley's basic working memory model consisted of three components: ・Central executive:This is a limited-capacity processing system resembling attention.It is modality-free,meaning it can process information from any sensory modality(e.g.,visual;auditory). ・Phonological loop:This is a temporary storage system holding verbal information in a phonological(speech-based)form;it is used for verbal rehearsal. ・Visuospatial sketchpad:This is a temporary memory system holding spatial and/or visual information.
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どなたか以下の英文を翻訳できる方が居ましたらぜひお願いいたします。 As this book seeks to demonstrate, the visual world and its producers, its users and its designers, are engaged in a heated debate over the status of design - who has ownership of it, who is qualified to do it, and how we receive and interpret it, It is in a period of evolution, and requires more developed and rigorous understanding. It may seem odd to say this , but whatever your view of the discussion in this chapter, it should ve clear that design is not simp;y a visual medium; it is a social and, as we have identified, a political one. It just happens to be most apparent visually in the messages sent to us by commerce, media and government, and the subtler but equally important messages we send each other in our everyday practices. Like an iceberg, 90 per cent of visual communication is hidden beneath the surface. And, just like an iceberg, it is the invisible 90 per cent that provides the raw power of visual communication. So, there we end this overview of some of the key ideas that are involved in the study and under standing of visual communication and its relationship with design. Undoubtedly, like some of the practitioners interviewed for the book, you will disagree with some of it. Hopefully some of it will have challenged your own positon on this subject.
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Among fish, the swordfish is the king of kings. The swordfish, leaping out of the water with its upper jaw like a spear, represents the ultimate in sport fishing. Technically, the swordfish is unrelated to the tuna, but its body resembles that of a tuna, and in Japan it is called a "swordfish tuna." Americans enjoy the light flavor of swordfish meat. In Japan, "true tuna" is more highly prized than swordfish. Toro, the oily meat taken from the belly of the tuna, is considered unbelievably expensive by Europeans and Americans. In Japan until the 1930s, the more lightly flavored red meat from the spine of the tuna was more expensive than toro. This "reversal of fortune" simply shows how tastes change, because no logical explanation for the fact is possible. In Japan, there are three ways to eat fish at its best: raw,grilled, and simmered. The freshest fish is eaten raw, fish that is slightly past its prime is grilled, and less fresh fish is simmered. Really fresh fish is best eaten raw, and the island nation of Japan can boast the freshest of fish. The Japanese language gave the world "sashimi" to the international community years ago. A survey was conducted to determine the popularity of tuna in New York, Paris, and Tokyo. The popularity was the same for Tokyoites and New Yorkers, but Parisians did not much care for tuna. It just did not have the same high quality associations as the white meat of sole. Wild red sea bream is considered a high-quality fish in Japan, but is not popular in Southeast Asia and southern China because its hard bones make it difficult to eat. If you want to know where to get your favorite fish cheap, you should know something about national characteristics. In terms of price, tuna is best in France, and red sea bream is best in Southeast Asia. A certain gourmet made himself sashimi in Kuwait. It was a fine fish, but the sashimi lacked flavor for him. He noticed that the meat had no fat in it, so he added some oil to the sashimi. As a result, it became tastier. Now, because the meat was too oily, he had to make a sauce using vinegar as the base in order to make the sashimi flavorful. In this way, with a little ingenuity, sashimi becomes tasty even if it's made in a foreign country. Nowadays, you can get sashimi practically anywhere in the world. However, not all of it is good. It was reported in local magazines that if you want really good sasimi in Johannesburg, South Africa, some restaurants will use their own special fishing boats in Cape Town to catch the fish of your choice. It was also reported that there is a small fishing village in the north of England that prepares sashimi just the way the Japanese like it. Can it be true?
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以下の英文を翻訳お願いしたいです Sometimes this decision is straightforward. A proposal of a marriage, and an acceptance or refusal. But sometimes life is less well defined than that and the decision is made by the soul, it is made in the depths unconsciously. By you or by him. You may feel you have had enough of this particular man, or karma for one life for example and your spirit may withdraw because of pain when you could have struggled on perhaps and changed the ending to the story. Or you may unconsciously behave in such a way that he is the one to end the relationship against your will. Life is complicated, and the stars only really sketch this life, you add your own complications to become woven into the destiny This can be said of all relationships of course, not just your own. But it is right to state it. Some people hear the word soul mate and they assume that nothing can ever go wrong. That is not so. What I promise you is a future, it is up to you and him to make it happy or sad, short or lasting.
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It doesn't make sense to argue that processing in the short-term store occurs before contact has been made with long-term memory. In contradiction of the assumptions of the multi-store model, learning can probably occur without conscious awareness of what has been learned.
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どなたか英文の翻訳をしていただける人が居ましたらぜひお願いいたします。 It could be argued, based on the ideas of Pierre Bourdieu, that the design industry's response to these pressures has been to create, or recapture, a sense of distinction, the set of discourses which emphasises shaping and nurturing 'natural creativity'. It has, in other words, reinvented itself as a form of art, borrowing the trappings of mystique (the tortured lone designer in pursuit of aesthetic truth), the canon (the last of great designers and a chronological design history), the language, the accepted wisdom of taste - and the gatekeepers (the critics the star designers and the teachers) who determine between them an exclusive body of knowledge. These factors have arguably led to a rejection of practice (how to 'do' design) and the critical theories (how to 'do' design) and the critical theories (how design 'works') in favour of the pursuit of design for design's sake, and a language with which to discuss it that excludes those who do not understand it or cannot or do not wish to participate. If this is true, then the end result is a source as well as a site of conflict between different parties. Not only is design in conflict with itself, but it feeds the very conflict the move towards distinction set out to counter. Design is often profoundly misunderstood by the end-user and media. While most people take their clothes to a specialist to have them dry-cleaned, get a builder in to add an extension to their home and a plumber to fix the central heating, many amateurs think they can 'do' design, because the process has been demystified and is much less exclusive, much less something that only an elite few can create and judge. It is a 'chicken-and-egg' situation: the more amateur designers encroach upon professional expertise, the more designers redefine what it is that makes the definition, the more the amateur decides to do it for himself.
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